Tag: Paul Henreid

Night Train to Munich

Now available in a flawless restoration from Criterion, this 1940 comedy-spy thriller was a non-sequel follow-up to Alfred Hitchcock‘s final British masterpiece of lighthearted suspense, “The Lady Vanishes.” Leading lady Margaret Lockwood was on board to star in a second wittily askew, fast-paced script from writers Sidney Gilliat and Frank Launder, who deserved as much acclaim as their director and knew it. Hitchcock, however, had left permanently for Hollywood and male lead Michael Redgrave was unavailable. A young Rex Harrison (“My Fair Lady”) stepped in as a dashing and egotistical British agent charged with rescuing a pretty Czechoslovakian (Lockwood) and her weapons scientist father (James Harcourt) from Nazi captivity on the eve of world war. Replacing Hitchcock, Carol Reed (“The Third Man”) didn’t mess a step. Also returning are masters of comic understatement Basil Radford and Naunton Wayne, back for more train-based foreign intrigue as the cricket-obsessed duo, Charters and Caldicott. New on board is Paul Henreid (“Casablanca”), playing a Czech concentration camp escapee who is no Victor Laszlo. A hit in its day, “Night Train” has been overshadowed by its predecessor, but it’s only a little less brilliant, with obvious miniature effects that embarrassed Reed and marred the climax slightly, and some too-obvious plot holes. Directly addressing World War II, it does have a more modern feel than “The Lady Vanishes,” however, with black comic echoes of “To Be or Not to Be” and ironic foreshadows of James Bond and, yup, “Inglourious Basterds.”

Click to buy “Night Train to Munich”

Inglourious movie moments #2

Another clip inspired by “Inglourious Basterds.” This brief sequence from “Casablanca” is one of my favorite scenes from any movie. Here is World War II in microcosm as the Paul Henreid’s heroic Victor Laszlo and the employees and customers of Rick’s Cafe Americain take on Conrad Veidt’s Nazi Colonel Strasse and Claude Rains’ Vichy-regime opportunist, Captain Renault, the only way they can.

One thing to consider about just why this scene remains so powerful is that very many of the actors here, including the German-born Veidt, whose first wife was Jewish, were themselves refugees from World War II-era persecution.

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